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I have a circular Hoya polarizer which helps make my skies more vibrant and blocks reflected light so I can see through windows mostly in the day time. However it does not get rid of all reflections on glass especially at night. When I am shooting night time interiors, I can still see reflections of the lights and everything else in the room from the windows in the room we are shooting. Is there anyway to fix that?

Hey everybody. Coming up this week I'm going to be shooing a commercial for a company that makes granite table tops and was hoping to get some thoughts on how to light it. The idea is that we'll be shooting overhead looking down as we see hands on the counter doing different day to day tasks. For example, we will start with one counter top as we see a hand throw some keys on the counter, cut to a different one as we see someone else's hands preparing food, then another as we see the hands of a kid playing with a toy car, and so forth. I'm curious as to how some of you guys might tackle lighting this. I'm imagining high key, soft lighting. Obviously I can't use a soft overhead source because my camera will be in the way, and I'm a bit concerned about distracting reflections on the counter top. I have a few Arri fresnels, Lowel Pro's, Omni's, and a Tota available to use. At the moment, I'm thinking along he lines of shooting a 650 Fresnel through some kind of diffusion to the side, maybe even a book light, but I'd love to hear your suggestions. Thanks!

Dear Colleagues, I'm wondering what objects, surfaces or props can be used to achieve interesting light reflection patterns? See this example of the Feist music video: It doesn't have to be that one per say, but any other technique that you guys could recommend from experience? Sincerely, Jovan Todorovic jovan.tv

Hello fellow cinematographers, I am shooting a short film in a few weeks and have been on a few locations recces this week and at almost every one of them the issue has been reflections on the windows. The film is based at night in a launderette so the windows almost look like mirrors. I know that a possible fix would be using a polariser, but the main concern is will it really help that much or will i still be fighting the reflections of lights and crew in the windows every time i look their way. Are there any other alternatives to reduce reflections? Any help is greatly appreciated, thank you! Thomas Terminet Schuppon

When interviewing spectacled people I am constantly fighting reflections from the key light. Do you have any tips on how to fix the reflection issue? Thank you for your time.

I was watching the new show Almost Human on FOX the other day and liked the look of the interior car scenes. What caught my eye at first was the way the windows reflected the outside atmosphere speeding by. It looks as though they are shooting through the car windows on a sound stage with some sort of rear projection (possible big digital projectors) simulating the fast moving background. Guessing they used a polarizer to fine tune the reflections. Any thoughts on how they achieved this look? How did they get the reflections on the car windows? Big massive digital projectors on each side? Or did they not even shoot through the windows and just added the reflections in post? Anywho, would like to hear some thoughts on it, thanks! here's one clip http://www.youtube.com/watch?v=5dv6JmczZCI

I have been testing out my new filter. I'm trying to mimic the Robert Richardson style. I used my Dedolight 150, pointed it straight down to the floor, and had a friend stand under it. There was a double image or reflection of the image back into the lens when I had the filter on. I was using my lens hood and removed the bounce board but it stayed there. What's the deal?